the scrapbook: a valentine vignette

The white flower stand_Patrick W Adam

The White Flower Stand (1924) is by the Scottish artist Patrick William Adam (1854-1929) who lived much of his life in a beloved house called Ardilea on Dirleton Road, North Berwick, and was known for his light and airy paintings of sophisticated interiors.

I wish you a lovely St. Valentine’s Day filled with favorite things (like red tulips and purple irises and silhouettes and a fine French mirror and gilt picture-frame molding and gold silk curtains and a white flower stand).

the scrapbook: the garden in winter, rue Carcel, Paul Gauguin, 1883

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A garden in winter. Why look? Let alone go to the trouble of taking a photograph or painting a picture? What is there to see other than the barren and bleak hauntings of what used to be? What is there to feel other than cold, emptiness? Perhaps Gauguin suggests that we look closer. Perhaps he means to say that the garden in winter is not lifeless, but only standing still for now. Perhaps he means to say by way of composition and color that the garden in winter reminds us of the strong bones that hold things together. I think that the two women in their scarves with their baskets know there is something to behold (as well as chores to be done), and that, yes, civilization looms in the background, the smoke stacks of the factories and the pitched roofs of the houses are undeniable, but they do not tamper the spirit of the garden, even snow covered, even in the dead of winter.

featured designer: Beth Webb on beauty and rooms that speak to the senses

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In 1897 when the iconic book The Decoration of Houses by Edith Wharton and Ogden Codman Jr. was published, one critic bemoaned its focus on beauty as a guiding principle. Thankfully many others embraced this approach and understood that the book’s thesis, if you will, had to do with restraint (at a time when that was not in vogue) and as Wharton put it, “the supreme excellence in simplicity.”

Designer Beth Webb is of this school. Read more

the scrapbook: interior, flowers and parakeets, Matisse 1924

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This painting by Matisse is one of my favorites at the Baltimore Museum of Art. I could look at it forever with its layers and layers of textures and patterns and light. I love the plain wooden table with the embroidered runner and the lovely pale flowers in the china vase alongside a simple cup and saucer and two lemons. Then, there is the exotic birdcage of parakeets, the shadows on the strips of mix-matched wallpaper, the pulled back curtain, the blue and white screen, and the undressed window offering a glimpse of the world beyond this room. It has been noted that this was Etta Cone’s favorite painting of those that she and her sister Claribel collected. And their own apartment in Baltimore looked something like this—with rooms that pulled you in like a story about the art of living.

the scrapbook: near-black green

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In Edgartown proper on Martha’s Vineyard it is called “near-black green” and in the South it is commonly referred to as “Charleston green.”

It’s the deep, inky green found on shutters and doors in many historic homes in historic towns, and what I love about it is how it gives a house a classic, clean, slightly formal look with a hint of mystery: is it black? Or is it green? At the moment, I’m on Martha’s Vineyard, but reading about Southern style, so this color that intersects both worlds and is part of each regions vernacular is quite intriguing.

In Charleston the story goes that residents added hints of blue and yellow to a government issued black after the Civil War as an act of independence. And in the New England area, I am told that it has to do with the harsh climate and the Puritan heritage. Neither of these tales can be officially verified, but it doesn’t really matter to me…lovely stories, lovely color.

onthresholds_edgartown near-black green

Happy Hump Day!